Friday, October 24, 2008

But for now peep this shit...Boomp3.comand this....Boomp3.comand this.....Boomp3.comand this.....Boomp3.comThese last 2 are on almost every computer... Look under C:/program files/windows nt/pinball there are mad sounds from the pinball game some of them are pretty dope sound effects...

Thursday, October 23, 2008

France-based hip hop maestros Fantastic Planet have just released their 'Fantastic JJ Project', a mixtape dedicated to Jneiro Jarel, specifically to his Dr Who Dat? alter ego. All the beats from this mix are taken from JJ's almost entirely instrumental Beat Journey album, only now with added raps and cuts from USA's Mattic and La Fin Equipe crew.

www.scion.com/channel14Host: J.Period, Tru Hip Hop, & Big JusGuest: Q-TIP This month, Truelements Radio pays tribute to the legendary lineup of 2008’s Rock the Bells tour featuring music from Pharcyde, De La Soul, Mos Def, Ghostface, Raekwon, Method Man, Redman, Nas, A Tribe Called Quest, and more! Truelements also present a new segment this month, "Diggin in the Crates" featuring rare and classic hip hop tracks straight from J.Period's own collection. And if that isn't enough, in honor of his upcoming Motown album, the abstract poetic himself, Q-Tip, makes a surprise special guest appearance on Truelements Radio for an exclusive interview with J.Period.www.jperiod.com

www.scion.com/channel13Host: Ninja TuneGuest: Ghostbeard With a heater of a show to match the late warmth of the summer that finally happened, Ninja Tune head Ghostbeard melts through hours of top notch dancehall that traipses the old and the new, the known and the never known. For this episode it helps to have friends like The Bug and Kode 9 on your side, who together combine to break the shackles and bars of London Zoo, making for a megamix to challenge the depth and dirge of The Bug's latest full-length, with an exercise in depth and brevity. All the glory of the summer, as you'll only come to remember it in the crunch of fall.www.ninjatune.net

Basically, if you have any 2 of the 3 (a acappella, instrumental, or the mix) you can get the 3rd, I messed with this a little bit today and it does work, so if you got the track and the instrumental you can get the acappella or if you have the vocal version and the acappella you can get the instrumental... I ain't gonna lie it's a little bit of work but it could be worth it if you're trying to isolate the one piece of a track for a sample, "once computer nerds get producin' skills, it's over"....

The piano's clean tone is what you hear on many essential Fender Rhodes recordings, but definitely not all of them. Like an electric guitar, the Rhodes sounds even better with the right amp and effects. The Suitcase Vibrato was the original Rhodes effect, built into all versions of the Suitcase piano (as well as Stage models with the Super Satellite & Janus I systems). The idea behind the Vibrato was to simulate a rotating speaker, although the actual sound was quite different. The first version of the Vibrato was in mono, a tremolo effect that varied the amplitude of the piano's output in a square-wave pattern. When the Suitcase amps went stereo in 1969, this pattern was translated into a panning effect. Front-panel controls were provided for Speed and Intensity.

With the release of the first Stage models in 1969, the player's choice of amplifier also began to shape the piano's sound. The Fender Twin Reverb was and continues to be the recommended amp for use with the Rhodes (see the Models section for more details). In terms of effects, tube overdrive became a normal part of the piano's tone, with tremolo and spring reverb being available as well.

One of the most popular outboard effects for the Rhodes was the Wah-Wah Pedal. This foot pedal had an extreme impact on the Rhodes sound, virtually eliminating its bell-tone and emphasizing the midrange frequencies. The characteristic sound of this pedal came from its rocking foot control, which swept the center frequency of a bandpass filter to create the impression of a person saying "wow". The wah effect is commonly featured on early jazz fusion recordings by Herbie Hancock, Chick Corea and Joe Zawinul, usually producing a static EQ from being left in the "always on" state. You also hear this effect combined with the Fuzz Pedal in recordings from the early 70's, adding warm distortion to the sound for an even more funkified "fuzz wah" experience.

Later in the 1970's and into the 80's, the phase shifter was regarded as a natural choice for adding body to the Rhodes tone. This sound was often heard on slower songs and ballads, the most well-known examples being Billy Joel's Just the Way You Are and Paul Simon's Still Crazy After All These Years. The Electro-Harmonix Small Stone and the MXR Phase 90 were the two popular phaser choices during this era. The Phase 90 was an orange "stomp box" with an on/off switch and a single knob for controlling the effect's speed, while the Small Stone included an additional "color" switch for manipulating the overall frequency response.

The BOSS CE-1 Chorus Ensemble produced similar results, but with a wider palette of options. The biggest advantage of the CE-1 was its stereo output, a major improvement over the mono-only phasers available at the time. On top of the chorus effect, the box could switch over to a pitch-shifting vibrato. This is the same effect circuit found in the Roland JC-120 Jazz Chorus, another 2 x 12" guitar amp popular among Rhodes players.

An honorable mention goes to the Ring Modulator, the cacophonous effect used to mutilate Jan Hammer's Rhodes playing with the Mahavishnu Orchestra. Originally found in modular analog synthesizers, the ring modulator summed the piano's signal with the output of a fixed-frequency oscillator, producing some very strange sounds.

Rob Coops of the Netherlands provides us with a variety of recordings demonstrating many of these effects in different configurations:

The audio examples here show how a customized Fender Rhodes can sound when it is directly recorded, recorded with an amp, or directly recorded with analog effects. Note that if you are using cheap consumer speakers, you may experience distortion in the high soloing notes of the following samples. This distortion is not part of the original sample. I used B&W speakers to monitor.

The piano used in the recordings was customized by me in July 2005 for a 72-year-old jazz musician who bought it 25 years ago in Amsterdam and did not use the instrument much (i.e. it was in pretty good shape). It is a 73-key piano with the older type of action: half-wooden/half-plastic hammers with neoprene hammer tips, a bit more work to get up to standard than later types (from 1975 on).

In my opinion almost any Rhodes can sound professional, as long as you use a good preamp/EQ, exchange the parts that are bad and, ideally, let an experienced Rhodes tech optimize the action and sound for you, to really get the most out of the instrument.

The MP3's were made an hour before the piano was picked up by the client, in a very casual way. I liked the piano and wanted to have some private recordings as a reference, but I thought, why not share it with you guys also, to get you enthusiastic and informed....

Example 1. We took the signal directly from the harp (for best clarity) and fed it into a preamp/EQ. The signal was recorded via a Delta 1010 soundcard (24 bits, 96 khz) into Wavelab. I edited the sample with Waves plugins: I used the R-Comp, the Paragraphic EQ, the Trueverb, and the stereo panner by Wavelab. These plugins were used just to correct. I used a little bit of everything, most obvious the reverb.

I personally like a vintage "Herbie" sound, but if you listen on good speakers it will sound bright enough. This sound is available to any studio with a soundcard, a preamp, and a customized Rhodes. (Try this with a Motif?...I will buy them for $200.- a piece.)

Boomp3.comExample 2a. Same signal path as Example 1. This sample shows how fat a well-customized midrange can sound.Boomp3.comExample 2b. I resampled Example 2a through a BOSS CE-1, with intensity set to 0. This broadens the sound without the chorus (detuning) itself being too obvious. Chorus creates phase-shifting: as a result the stereo image is a bit off-center. Listen to this sample on a pair of good speakers to experience the difference with 2a. Pedals like these create extra noise, but I prefer them over computer-generated phasers and choruses. It usually sounds better.Boomp3.comExample 2c. This sample was resampled through a Small Stone phaser (coloration knob downwards). Phasing creates large volume sweeps, so this sample has been compressed more than the previous ones. The subtle stereo-sweeping is the Waves Metaflanger: the Small Stone itself is a mono pedal.Boomp3.comExample 2d. A good but pricier alternative to the Small Stone and MXR: the Univibe. I like the irregular movement and tone of this effect. But I am also a Hendrix fan...Jimi used this pedal on "Machine Gun" with an Octavia, a Fuzzface and a few stacks of Marshall's. The Univibe is mono also. I think I set the depth somewhere before the middle position for this sample. You can control the intensity of this effect, unlike the Small Stone and MXR.Boomp3.comExample 3. The high notes of this piano were placed relatively close to the pickups, but they still sound OK. It is generally not a good idea to place tines too close to the pickups, to the point where you get pickup-generated overdrive. I like to use an amp to get that kind of tone.Boomp3.comExample 4. The same piano is now connected to an original Suitcase Preamp. It is a Suitcase box from 1975 with the concentric knobs on the front panel. We recorded it with only one Electro-Voice RE-20 dynamic microphone and a Tube-Tech MP1A microphone preamplifier. Good, professional gear. We forgot to switch off the preamp's tremolo effect, so you are hearing a sort of compressed Vibrato that is swept from left to right with the Wavelab stereo panner. Read my lips: this sample has been heavily EQ-ed, with a lot of high-frequency boost.The natural sound of this box is very dark, but there are several speaker upgrades available to get more clarity (Speakeasy & Vintage Vibe). The nice thing about this box is the little edge of overdrive it adds to the sound of the recording, but it is a bit harder to EQ it right. By the way, the Tube-Tech mic preamp is completely clean and does not add any overdrive.Boomp3.comExample 5a. The piano is still connected to the Suitcase preamp, but is now amplified by a Fender Twin Reverb (silverface with master volume). I filtered away the highest frequencies with the EQ plugin (they always irritate me). In retrospect we should have given it more overdrive, but if you listen carefully to the beginning of this sample you hear the kind of overdrive you get from the Twin on your high frequencies. But once again, in reality these high frequencies can be experienced as a bit too mean and piercing. The problem with guitar amplifiers is that the EQ-ing on those amps is not designed for a Rhodes but for a guitar. They often have peaks at 3 or 4 khz that can be too piercing for a Rhodes. But amps can make a sound come more alive, and it is challenging to rework an amp-recorded Rhodes in your studio.

There are many different amps on the market, valve, transistor, or both. Transistor amps can overdrive also, so it does not necessarily need to have tubes. Check them out and judge and decide for yourself. For a classic reference, listen to Herbie Hancock's Headhunters for a nicely overdriven Rhodes. Realize that any Rhodes that you hear on a CD has been processed to optimize dynamics and tone.Boomp3.comExample 5b. I EQ-ed this sample to give the mid more warmth and exaggerate the "glitching" effect of the dampers. Compare this with Example 2a: this is the kind of funky-grungy sound you get on your midrange from a Twin Reverb.Boomp3.comExample 6. Who says a Rhodes can't be psychedelic? Hmmmm??? Sounds like hidden Sunlightglasses to me.... Boomp3.comExample 7. We greet Ray up in the sky, who immortalized the Rhodes in that soulful and funny movie. I still want a Rhodes with the pink fluffy cloth on it. Quando, quando???Boomp3.comExample 8a. This is a 1979 Rhodes that I customized for a jazz player in September 2005. These later Rhodes Mark I models have the same basic characteristics as a Mark II with wooden keys. Some people prefer the early 70's Mark I, but these later models sound great also, when you treat them right. A customized Rhodes can effectively produce a "wall of sound" and project the energy you put into it. Clean signal path, same as Example 2a. The idea for this sample popped up at the vegetable department.Boomp3.comExample 8b. Same piano as the previous example. A well-customized Rhodes provides a wide range of sounds to the player. Most of the samples presented here were played pretty hard. This one is played with a subtle touch, yet all notes respond....Boomp3.com

'Things have to get worse before they get better'Quentin Moore, a former gang member from Los Angeles, enters the Guardian's Truth booth to explain why he sees the US recession as a timely rebuke to excess

Quentin Moore is a father of three and a former gang member. He is now a counsellor at Homeboys Industries, founded 20 years ago and now the largest gang intervention programme in America.

Homeboys Industries provides counselling, job training and referrals. The programme also runs its own businesses, including a successful bakery and cafe - offering alternatives to a life that often ends in prison or premature death. One of the group's mottoes is 'Nothing stops a bullet like a job.'

Peep the explanation of eating spaghetti instead of caviar.. Perfect for a interlude.

Monday, October 13, 2008

I never noticed how close Dr. Emmett "Doc" Brown was standing to Marty McFly in the original image a little too close I think, letting young Martin feel all 1.21 gigawatts of his flux capacitor....gross.... this photo-shop maintains the same grossness....

Thursday, September 18, 2008

Tuesday, September 16, 2008

MPC History

The original MPC60 was designed by Roger Linn, who was hired as a design consultant by Akai. He developed the functional design, including the panel layout and software/hardware specifications. He then created the software with a team of engineers. The hardware electronics were designed by English engineer David Cockerell and his team.[1] Cockerell was a founder member of the synthesizer firm EMS (co-creater of their famous VCS3 along with Peter Zinovieff,[2]), and had then worked for effects manufacturers Electro-Harmonix.

Shortly after the MPC60's release, the MPC60-II was designed. Released in 1991, the MPC60-II offered most of the same features as the MPC60, with an added headphone output and a plastic housing replacing the original metal one.[3] In 1994, Akai released the MPC3000, which boasted 16-bit, 44 kHz sampling, 32-voice polyphony, and SCSI data transfer.[4] Akai developed and released the MPC2000 without Linn in 1997.[1] It came with 2 MB of RAM, an optional effects board, and a 100,000 note 64-track sequencer.[5] The MPC2000 was replaced by the MPC2000XL in 2000. The MPC2000XL added an improved 300,000 note sequencer, a 64-track mixer and time-stretch and resample features. Four limited edition models of the MPC2000XL were released.[5]

In 2002 Akai unveiled the MPC4000, the most powerful MPC to date. The MPC4000 features 8 assignable outputs, a hard drive and CD-ROM drive. The MPC4000's memory can be expanded to up to 512 MB of RAM, the largest amount on an MPC to date.[6] Only two years after the release of the MPC4000, Akai released the MPC1000, which was the smallest in the MPC product line at the time of its release. It is also the first MPC to utilize CompactFlash memory.[7]. Both the MPC2500 and the MPC500 were added to the Akai MPC series in 2006. The MPC2500 is a mid-range MPC with 8 assignable outputs and CompactFlash storage.[8] Designed for portability, the MPC500 features 1 MIDI In/Out and CompactFlash storage, and can be powered by 6 AA batteries.[9]

JJ Operating System

In the summer of 2006, an anonymous programmer believed to be an ex-Akai employee released a 3rd party OS for the MPC 1000 and later for the MPC 2500. This programmer was nicknamed "JJ" or "Japanese Jenius" by an enthusiastic fan/beta tester.

This new software boasts superior features to those of the original OS and also fixes a number of bugs in the Akai software.[21]. Collective additions include "midi grid edit" (piano roll), extensive qlink support, audio tracks, aftertouch, portamento, and innumerable performance and system tweaks. The demo version lacks a save capability, which is unlocked with the purchase of a password for $30.

As a programmer, JJ is characterized by his frequent updates and attentiveness to customer feedback. Despite a significant language barrier (Japanese-English) JJ OS users maintain a steady stream of dialog with the programmer. This steady flow of dialog between the user and the programmer is further maintained through the ability to report a bug in the system directly to JJ through the "Report a Bug" link on the JJ OS website.

In late December, 2007, JJ released a beta version of OS 2, which has since gone gold. This version gives the 1000 and 2500 features[22] found on the more expensive MPC 4000, such as ADSR for pitch, amp and filter, keymaps etc. On March 11th, 2008, The 1.0 version of OS2 was released, adding more sound editing possibilities, including: fade in and out, and combine of two sounds. It also added audio track improvements, which mainly focused around the ability to apply pads to markers with in an audio track. These are just an example of improvements made in the 1.0 version. [23]

There are three different versions of the JJ OS available for download.

JJ OS 3.08 (free)

This version is the most similar to the Akai OS, and does not include many new features, however it has fixed a series of bugs.

JJ OS1

A version of "OS1" which is the most stable version of the all of the JJ OS's. Has the ability to trigger with just a touch of the note repeat, the user must purchase a password for $30.00 US dollars. OS1 is currently in version 4.99B. There is a version made for the MPC 2500 which is in version 5.51.

JJ OS2

The last version of the JJ OS is OS2, which was released in beta form in late December 2007. Many of these features that have been added by OS2 have been compared to features included in the high-end MPC 4000. Like OS1, it can be downloaded and tried free of charge, but users are unable to save. This can be unlocked by purchasing a password for OS2, however, users are unable to install OS2 unless they already have installed an unlocked version of OS1 first. On March 11th 2008 version 1.0 was released[23], and as of 04.08.2008, the JJOS2 is available for both the MPC1000(v1.06) and the MPC2500(v1.04), with both costing $49.

This is the city symbol for Nagoya Japan, definitely one of the favorite places I've been, the symbols not bad either, simple and refined, but kinda techy to... Almost looks like the old AphexTwin joint.Dope place to visit...

"Buried under the French-Swiss border, the Large Hadron Collider has gotten its share of ink--and for good reason. Hearing about the sheer magnitude and price of what's been called the biggest and most expensive scientific experiment in human history is enough to instill fascination and excitement in even the most non-particle-physicists among us. Once it's running at full capacity, the project's researchers say, the $5.3 billion LHC, the biggest particle accelerator ever built, will be able to answer questions physicists never thought they'd get answers to, like why the universe formed the way it did and why matter has mass. Critics of the project say it could have the opposite effect, leading not to knowledge but instead humanity's demise.

Technicians plan to flip the switch on the collider this week, sending bunches of protons around the concrete tube dispersed with supercooled electromagnets, to create the very first collisions. Last month I visited CERN, the international nuclear research lab near Geneva that houses the LHC. The project's vital statistics jump out: an underground ring 16 miles in circumference will propel bunches of protons (about 100 billion at a time) around at almost the speed of light, more than 11,000 times per second. But it's an experiment unlikely to deliver its promised answers anywhere near as quickly as the protons are moving inside it.

From the beginning, a quick turnaround of findings was never the goal. It's fundamental, rather than practical, knowledge that researchers are after, as well as a suspected new particle called the Higgs boson (dubbed "The God Particle" for its potential to answer the most basic questions about existence, such as how anything came into existence) that could have unfathomable uses far into the future. Researchers liken the pursuit of the Higgs to the 1897 discovery of the electron, an atom's charged outermost particle. Its detection aided the harnessing of mass electricity, which has fueled core cultural components of the 21st century: the efficient lights we turn on, the TVs we watch and the phones we talk on. Another advance like that, CERN hopes, could be in store.

The collider will operate around the clock for nine months of the year: about 600 million collisions per second. Two floors of computer servers installed to measure LHC data will keep records of only a fraction of the collisions; the computers will discard the rest. There's also the style of explosion. Very few collisions are the same, so finding the most powerful ones that might show the existence of the Higgs particle or other unexpected effects will take time. By the estimate of Lyn Evans, the LHC's project head, big findings won't come for "a pretty long time." A junior researcher I spoke with was more descriptive. "It will definitely take months at a minimum--years, if nature is not kind to us," he said.

A bigger problem is likely to be collaboration. The number of scientists working collectively on each of the ring's four experiments--about 10,000--has made the project the biggest international collaborative research endeavor in history. It's certainly helpful to have so many qualified, knowledgeable voices, but the size of the roster also brings a downside. Ten thousand geographically dispersed scientists poring over loads of data means more, and longer, squabbling over whether a Higgs really is a Higgs. "We're very lucky to have so many voices on this project, but yes, there could be some extended debating," said James Gillies, head spokesperson for CERN. Even after scientists agree on what they see, it could take years of analysis to agree on what a finding means, and how someone could find a practical use for it.

Until the collider starts, there's plenty of debate to fill that gap. Walter Wagner, a researcher in Hawaii, started a group this year called Citizens Against the Large Hadron Collider, devoted to halting the machine's operation until more testing ensures its safety. "There is a real possibility of creating destructive theoretical anomalies such as miniature black holes, strangelets and deSitter space transitions," Wagner says in a statement on the group's Web site. "These events have the potential to fundamentally alter matter and destroy our planet."

CERN's top researchers see it differently. Says Evans, "Any physical collision that humans are capable of creating on earth has already been happening much more powerfully and frequently in the natural universe." Still, the prospect of creating loads of tiny but quickly growing alternate universes would certainly add a new allure to an experiment that's already pretty enthralling. "

Monday, July 28, 2008

Here is a couple of tracks from the Sts, check this shit out..... "These joints are butta,... somebody get me some bread"

SouthTropolis_-_Coolindividual.mp3SouthTropolis_-_Find a New Begining.mp3SouthTropolis_-_Know the deal.mp3SouthTropolis_-_Mighty Fine.mp3SouthTropolis_-_Sniblet_NutMix.MP3SouthTropolis_-_soulful clockwork.mp3

Here are a few more of Mattic's Cool Edit joints.. There are some bigger ones here so they are split into multiple parts, if the session you want is split you will need all of the parts to unpack the RAR. With all that being said there are some super-dope-stupid-foul-funky-fresh jams in here....

The D.O. (AKA ThE DiSoRiEnTaLiStS) got together with Mattic and DR back in the day and made this little EP. It was bangin' but not too many people heard it. So if you are one of the many sleepers here is your chance to peep it. This post consists of 2 files the first is the EP itself and the second is some additional tracks that were recorded around the same time, probably would've been on a D.O. album if there ever was one.

Here goes a few more of Mattic's joints recorded in Cool Edit. I think that these are named a little better. Again this is all the session files to mix down or remix these tracks... Big up to my man Mattic and DR they got some heat up on here... Hopefully someone can mix them down a little better than I did (smoked out 4am) but that's how we do...

Here is a straight up classic show from back in '99 the four man group (3 men & 1 woman) known as Katsckillz Project. They were one of the dopest groups ever out of the QC. The destroyed the stage at every show, with fans and followers increasing daily. But the industry is a bitch, things fall apart and so on, thus the group was disbanded. I had the priviledge of working with this group and will cherish the memories always.... This is one of the better recordings of them in action, hope you peep it and dig it as much as I do....

Here are 2 tracks from the 3 man group known as SouthTropolis consisting of Mattic on the vocals, Dj Slate on the cuts and myself (B2DaE) on production.... This RAR contains the classic "Just Listen" in which Dj Slate really gets loose and "Mankind" both dope in their own right...

Here is a mix from MicT of The DiSoRiEnTaLiSts called "Music For The Knownots". Definitely worth a listen, my man always had a good ear and steady hand on the decks... So do yourself a favor and peep this shit!! If you aint heard it, it's new to you.....

Here is a few of Mattic's tracks recorded in Cool Edit, they are all RAR files that contain all session files. Good for remixing and editing. The links below are named after the folders which they contain, so it may or may not be the title of the song. Basically Mattic and I named them whatever at the time since some of them didn't have names when we recorded them.

Tuesday, July 22, 2008

The year was 2006 the month was June-ish and Mr. Dash just dropped yet another in his seemingly never-ending supply of beat cds. I got mine via mail, I am pretty sure he made this joint when he was in Miami, but I can't keep track of that dude (always on the move). Well anyways Here it is.....